Three volumes from Ediciones Poligrafa’s 20_21 collection
Vito Acconci: Writings, Works, Projects (M Accon .A4 2001)
Essays by Vito Acconci and Gloria Moure.
The work of Vito Acconci is among the most influential of the last 30 years. 
His adventures in performance, audio and video, sculpture, writing and architecture, from the late 1960s through the present have provided countless milestone works for younger artists. This monograph includes both extensive visual documentation from throughout his career and a wide selection of his writings.
An Art of Limina: Gary Hill’s Works and Writings ( M HillG .Q37 2009 )
Foreword by Lynne Cooke. Text by George Quasha, Charles Stein.
Gary Hill is one of the most influential contemporary artists to investigate the myriad relationships between words and electronic images. 
Hill’s work in video is about, and is, a new form of writing. In this substantial volume, George Quasha and Charles Stein analyze the artist’s entire career, paying particular attention to the single-channel video works. Covering Hill’s oeuvre, this monograph features a comprehensive chronology of his work, including important production details. A careful selection of key writings by the artist is also included. With 640 pages and more than 900 illustrations, it is the most comprehensive and in-depth treatment of Gary Hill’s work to date, written in close connection with the artist.
Jeff Wall: Works and Collected Writings ( M Wall .J44 2007 )
Essay by Michael Newman. Writings by Jeff Wall.
For more than 20 years, Jeff Wall’s pioneering work has contributed 
significantly to placing the medium of photography in the midst of contemporary art. His compositions in both color and black-and-white maintain a constant dialogue with nineteenth-century genre painting. This substantial monograph collects Wall’s works alongside his writings in 300 pages featuring almost 150 illustrations.
of the veil in contemporary visual arts. Providing a context for the commissioned essays are a number of classical historical texts crossing religions, cultures, genders, and ages—from Greek myths to articles published in the aftermath of September 11, 2001. Some of the contemporary artists and scholars write autobiographically about the meaning of the veil in their lives. Others take a more political approach, discussing, for example, how the events of September 11 changed the use and reception of veil imagery throughout the world. Still others take a historical approach, examining how nineteenth-century technological developments in travel and photography led to photographic depictions of both the veiled and unveiled body in relation to landscape. A number of essays look at the art historical precedents for the current interest in artwork addressing the veil, while others examine how codes of modesty and gender segregation have affected the making and viewing of films in postrevolutionary Iran.
world of wall-hanging tapestry. Three years in the making, the fourteen tapestries in Demons, Yarns and Tales address a range of subjects from fictive landscapes and architectural abstraction to fashion and flora while considering the politics of race, gender, international conflict and the environment. Adjusting to the new medium while adapting to unfamiliar textures and surfaces, each artist has found ways to expand their practice and develop the ongoing themes in their work. Demons, Yarns and Tales sees them translate familiar languages of paint, paper, pencil, ink on canvas, ceramics or wood panel into that of hand woven stitch and silk thread. The artists included in the book are Ghada Amer & Reza Farkhondeh, avaf, Peter Blake, Jaime Gili, Gary Hume, Francesca Lowe, Beatriz Milhazes, Paul Noble, Grayson Perry, Shahzia Sikander, Fred Tomaselli, Gavin Turk, Julie Verhoeven and Kara Walker.
Volume III
career to portraying African Americans seriously rather than as caricatures, hoping that honest African American art would become accepted. Drawing on recently unearthed taped interviews; unpublished paintings and sketches; and her own interviews, Amy M. Mooney examines Motley’s work from the 1920s through the 1940s and discusses his significant contributions to the American art scene.
art critic, author Keith Morrison’s artistic range covers both abstraction and figuration. Jamaican born, Morrison was exposed to both traditional art and the larger global art community; in the United States he studied figure drawing, painting, and printmaking at the School of the Art Institute of Chicago, basing his style of abstraction on geometric forms, music, and geography.
Art Workshop and was the first African American to be named a supervisor for the WPA’s Federal Art Project. Alston was the first African American instructor at both the Art Students League of New York and the Museum of Modern Art and was a professor of painting at the City University of New York. Determined to assist artists who would follow in his footsteps, he cofounded Spiral, a renowned black artists’ alliance.
